鲁迅先生倡导了中国新兴木刻,特别是鲁迅的晚年,更在百忙中为版画在中国的发展耗费了大量心血。他不仅举办木刻讲习会,请日本朋友内山嘉吉先生讲授木刻技法,亲任口译,而且多次举办个人收藏的外国版画展,自费编印外国优秀版画,介绍外国的版画技法,与许多进步木刻青年通信,寄送画册、资料,介绍木刻青年的作品发表,编画集,在逝世前十一天还扶病参观了第二回全国木刻流动展览……。鲁迅先生为什么不遗余力地提倡和扶植中国新兴版画呢?因为当时在旧中国的黑暗统治下,美术界有不少逃避现实、庸俗低级黄色的美术作品,而战斗的版画,正是反映现实、揭露和抨击当时反动统治最有力的武器。在新兴版画得到蓬勃发展的今天,我们不能忘 Mr. Lu Xun advocated the rise of new woodcuts in China, especially his later years, and spent a lot of time and effort on the development of prints in China. He not only held a woodcut seminar, invited Japanese friend Mr. Neesugi Kaji to teach woodcut techniques, interpretations on his own behalf, and held a number of private collections of foreign printmaking exhibitions at their own expense, printing foreign excellent prints, introducing foreign printmaking techniques, and many progressive woodcutters Communications, send pictures, information, introduction woodcut young works published, edited set, also died in the eleven days before the visit to visit the second national woodcut mobile exhibition ... .... Why did Lu Xun sparing no effort to promote and nurture the emerging Chinese prints? Because under the dark rule of the old China at the time, there were many fine art works of the fine arts that eschewed the reality and low vulgarity of the vulgarity, and the fighting printmaking precisely reflected the reality, Attacked the most powerful weapon of reactionary rule at the time. Today we can not forget the flourishing development of emerging prints